The emergency of the resistance | Miquel Lacasta Codorniu

Félix Candela, umbrella of hypars experimental for gas stations, 1954

The emergency of the resistance

Already he was writing Ignasi of Solà-mulberry trees in 1993, which before the structural violence of the current world, which in the shape of subtle network one has installed implacably in the reality, only three types of attitudes fit: the submission, the delinquency and the resistance.1

Today more that it is never necessary to take anyone of three attitudes, and to turn them into aptitudes, as reference of to do of the architecture, not so much to save the world, as the Utopian architecture of the 60 it was proclaiming, but rather to there not be swept by him the same world on which we want to act. Certainly the danger of the architecture today, it is to remain disastrously swept by the forces of the rude reality that represents the world, of his capricious sways in the shape of financial disasters, social monstrous engineerings and / or annihilating storms of a culture in permanent condition of starvation.

The submission is probably the most common form adopted as the architects. The logical disability to face size monster (the complex reality) ends up by trying an attitude of submissive path, of acting according to what is expected from a good architect. The versions of such a submission are multiple, a submission to the client, to the project, chance the most interesting, submission to what the profession expects from one, submission to the teacher and father, for submission for the market, submission for the critic or healer of shift, submission for the juror, submission for the mayor, submission definitively. The submission is not intrinsically bad when the conditions and the interests that make a detour to a project place in an understandable territory. Nevertheless rarely one gives this situation with clarity. When the regulations are not rubbing the stupidity, he is the client, the teacher or the mayor, three principal figures in the path of any architecture, which separately or simultaneously hide own interests that totally watched, they do of a project a species of vane at the mercy of the winds.

The delinquency is all the attitudes the most exciting. To place though it is momentarily out of the law, only it is allowed really big those. The desecration of the idea of cemetery is probably one of the big crimes perpetrated by the Bonney and local Clide of the 90, Miralles/Pinós, in the cemetery of Equalized. Another type of delinquency, the theft inmisericorde of the hall of the Kunsthal of Rotterdam executed by one of the habitual suspects, Rem Koolhaas,2 would cost also as example of architects’ attitudes that jump the limits to place beyond. It is clear, that as the famous phrase attributed to Einstein, a problem cannot be solved by the same mentality of that I believe it. Of being true, the attitude delinquent before a project of architecture always must be present. What happens is that under the same alibi we would find other architectures and other architects that we would consider to be like aberrant. The key question here, it would be her of the one who does give the legitimacy to the architect the rules to skip? It is not necessary to say that we would find multiple justifications for each of the architects and his architectures, but also it is true that we cannot spur on the constant as systematic transgression for the act of projecting architecture. There are ethical values that only talents specially constituted and spatially constructed for it, they are capable of going beyond and of proposing a dream out of any rule and initial condition.

There ploughs ethical values that only talents specially constituted and spatially constructed for it, they ploughs capable of going beyond and of proposing to dream out of any bum and initial condition.

Finally, an attitude of resistance seems to be more reasonable as practically, the only possible one. The idea of resistance, it can be understood since it there does one of the most interesting resistant and complex habitual ones of the architectural panorama of ends of the 20th century, Steven Holl, in the sense of friction, almost of burning, with that one that the city, the technology, the program and the client demand of a project of architecture. This it would be an attitude of resistance in negative, in many cases very productive, but simultaneously too much centred on a situation of permanency of the initial conditions. That is to say, only if the point of item remains fixed in long time, we can find the points of friction that will make arise the mechanisms adapted to solve a very concrete situation of project. Today, unfortunately, nothing remains I fix the sufficient time as to be studied by the rigor and the necessary intensity to come to his deep nature. He would say that only in very special conditions the resistance for the route of the burning can be a nourishing proyectualmente speaking.

Another known reference to the idea of resistance is Kenneth Frampton’s offer elaborated in his texts on critical regionalism, specially the very well-known text Towards a Critical Regionalism Six Points for an Architecture of Resistance,3 and also Ten Points on an Arhitecture of Regionalism: A Provisional Polemic.4 In them Frampton alludes to the idea of resistance as attempt of sheltering before the established cánones, according to him, it escenográfico and the visual thing, turned into negative dominant characteristics on positive aspects of the architecture as the tectonic thing and the tactile thing. Before this situation, it is necessary to object a ferreous resistance in the shape of cultural dissent and promote a resistant attitude in against the stylistic conventions to the mode by means of the development of a local architecture, more than of the space. Resistance, he acquires in Frampton, epic dyes of defensive strategy and reactivates, more than of tactics propositivas and proactive, for what to construct an attitude from the negatividad, it does not also look like a good way of structuring a genuinely resistant position.

It is not necessary to say that both in Holl and in Frampton, the idea of resistance superposes one with other one, with the facility that gives the complicity between both architects.

Finally, this idea of resistance also can be interpreted as the only possibility for the intelligence in the form of the critical function.5 It would be necessary to say in this point of the reflection, that the critical function that proves asumible here, has come out already the nihilism estructuralista inherently of the fact of becoming discredited any productive activity, understanding that he carries an ideological immanent production, consequence of the dominant forces in the economic structure that is based on the class struggle. Everything opposite, which it is necessary to notice here as attitude of resistance, is the development perfected of a critical intelligence, a species of critical function to the service of an unbreakable optimism.

This idea of critical function, hoarding of a vastísima wants to activate those own mechanisms of the architectural intelligence, namely, patience, detection of fissures or cracks in the information given like valid, architectural, interminable culture in his references, a linked action of small achievements and successes, more than of big allegoric gestures, the emergency of a sensibility so much own, since social and therefore objective, subjective and intersubjective simultaneously and definitively the observer’s patient attitude anchored in the future, performer in the present and accompanied of the experiences of a past always rich and aleccionador.

Only from a reading of the resistance as this one, I would dare to proclaim the emergency of the architecture, because now yes, though all the indications indicate that the end of the architecture approaches, that the ominous and neglectful voices are filled with words that condemn the architecture to a species of searing submission to a morally lost and mad world, the architecture, with all the letters, it is more necessary than never, for the simple reason that the demands are more extreme than never. In other words, the architecture must be more demanding with it itself because the conditions of the environment to do architecture have turned equally, more demanding.

It is now when the response in the shape of emergency of an architecture – architecture, must be imperatively lucid and therefore, of almost automatic, radically resistant form, or what is the same thing, intrinsically intelligently.

Miquel Lacasta Codorniu. Doctor architect
Barcelona. setember 2012

Notes
1 Solá-Morales, Ignasi, Anyway: colonización, violencia, resistencia, Cynthia C. Davidson ed., Anywhere, Rizzoli International Publications, Inc., Nueva York, 1993
2 It is more than advisable Jaume Prat’s magnificent critical article Ortells about the Kunsthal, published on August 15 of the same year, in his blog arquitectura entre otras soluciones, and with title Still waiting for Godot. jaumepratarquitecto.com
3 Frampton, Kenneth, Towards a Critical Regionalism Six Points for an Architecture of Resistance en The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster, Bay Press, Port Twonsend, 1983 pp. 16-30
4 Frampton, Kenneth, Ten Points on an Architecture of Regionalism: A Provisional Polemic, en Center: A Journal for Architecture in America, vol.3, ed. Vincent Canizaro, University of Texas press, Austin, 1987, pp.20-27
5 Solá-Morales, Ignasi, De la autonomía de lo intempestivo, Los Artículos del Any, Fundación Caja de Arquitectos, Colección la Cimbra nº7, Barcelona, 2009

Es cofundador en ARCHIKUBIK y también en @kubik – espacio multidisciplinario. Obtuvo un Ph.D. con honores (cum laude) en ESARQ Universitat Internacional de Catalunya UIC y también fue galardonado con el premio especial Ph.D (UIC 2012), M.arch en ESARQ Universitat Internacional de Catalunya, y se graduó como arquitecto en ETSAB Universitat Politècnica de Catalunya . Miquel es profesor asociado en ESARQ desde 1996. Anteriormente, fue profesor en Elisava y Escola LAI, y también en programas de postgrado en ETSAB y La Salle. Fue arquitecto en la oficina de Manuel Brullet desde 1989 desde 1995.

 

follow me

Filed under: lighthouse, Miquel Lacasta Codorniu

Tags: , , , , , , , , , , , , , , , , , ,